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DTHPS SIGNED

Sound and Materialism in the 19th Century

Total Cost €

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EC-Contrib. €

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Partnership

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 DTHPS project word cloud

Explore the words cloud of the DTHPS project. It provides you a very rough idea of what is the project "DTHPS" about.

archival    philosophies    nexus    france    stethoscopes    writers    sound    printed    world    new    scientists    materialist    romantic    rules    uncover    conception    thinking    soundscapes    view    practices    causality    broken    musical    nature    substantially    dominant    accompanied    culture    philosophy    drew    media    musicology    regarded    steam    interactions    offers    tangible    technological    moments    trains    impacted    ostensibly    critics    alongside    subject    mechanical    idealism    radically    placing    disciplinary    history    circumscribes    metaphysics    interrelations    aesthetics    machines    music    enlarge    innovative    science    historically    century    materialism    scientific    property    pi    forms    technologies    postdoctoral    material    19th    industrial    natural    perspective    associative    listening    mechanism    performers    artistic    creative    divided    dialogue    first    intersection    sources    instruments    itself    theories    innovations    ways    drawing    scholars    time    cross    concealed    examines    mind    adopting    anathema    laws    composers    engineers    medicalised    formed    discourses    germany    historical    criticism    britain    sounds    intrinsic    physical    site   

Project "DTHPS" data sheet

The following table provides information about the project.

Coordinator
THE CHANCELLOR MASTERS AND SCHOLARSOF THE UNIVERSITY OF CAMBRIDGE 

Organization address
address: TRINITY LANE THE OLD SCHOOLS
city: CAMBRIDGE
postcode: CB2 1TN
website: www.cam.ac.uk

contact info
title: n.a.
name: n.a.
surname: n.a.
function: n.a.
email: n.a.
telephone: n.a.
fax: n.a.

 Coordinator Country United Kingdom [UK]
 Project website http://www.sound-matter.com
 Total cost 1˙496˙345 €
 EC max contribution 1˙496˙345 € (100%)
 Programme 1. H2020-EU.1.1. (EXCELLENT SCIENCE - European Research Council (ERC))
 Code Call ERC-2014-STG
 Funding Scheme ERC-STG
 Starting year 2015
 Duration (year-month-day) from 2015-09-01   to  2020-08-31

 Partnership

Take a look of project's partnership.

# participants  country  role  EC contrib. [€] 
1    THE CHANCELLOR MASTERS AND SCHOLARSOF THE UNIVERSITY OF CAMBRIDGE UK (CAMBRIDGE) coordinator 1˙496˙345.00
2    UNIVERSITY OF BRISTOL UK (BRISTOL) participant 0.00

Map

 Project objective

This research project aims to enlarge substantially our understanding of the dialogue between 19th-century music and natural science. It examines in particular how a scientific-materialist conception of sound was formed alongside a dominant culture of romantic idealism. Placing itself at the intersection of historical musicology and the history and philosophy of science, the project will investigate the view that musical sound, ostensibly the property of metaphysics, was also regarded by writers, composers, scientists and engineers as tangible, material and subject to physical laws; that scientific thinking was not anathema but—at key moments—intrinsic to music aesthetics and criticism; that philosophies of mind and theories of the creative process also drew on mechanical rules of causality and associative ‘laws’; and that the technological innovations brought about by scientific research—from steam trains to stethoscopes—were accompanied by new concepts and new ways of listening that radically impacted the sound world of composers, critics, and performers. It seeks, in short, to uncover for the first time a fully integrated view of the musical and scientific culture of the 19th century. The research will be broken down into four areas, each of which circumscribes a particular set of discourses: machines and mechanism; forms of nature; technologies for sound; and music medicalised. Drawing on a range of archival and printed sources in Great Britain, France and Germany, the project offers an innovative approach by examining historical soundscapes and new listening practices, by adopting a media perspective on scientific and musical instruments, and by investigating the interrelations between artistic sounds and non-artistic, industrial technologies. The cross-disciplinary research, divided between the PI and four postdoctoral scholars, will open up new interactions between music and materialism as a concealed site of knowledge and historically significant nexus.

 Publications

year authors and title journal last update
List of publications.
2019 David Trippett and Benjamin Walton
Nineteenth-Century Opera and the Scientific Imagination
published pages: , ISSN: , DOI:
Nineteenth-Century Opera and the Scientific Imagination 2020-04-06
2015 D. Trippett
Exercising Musical Minds: Phrenology and Music Pedagogy in London circa 1830
published pages: 99-124, ISSN: 0148-2076, DOI: 10.1525/ncm.2015.39.2.99
19th-Century Music 39/2 2020-04-06
2020 David Trippett
Wagner’s Sound Effects: Bells, Cannon and the Perception of Heavy sound
published pages: , ISSN: , DOI:
Sonorous Sublimes 2020-04-06
2019 Melissa van Drie
Refaçonner l’oreille, prendre en main la voix: le comédien et le phonographe
published pages: , ISSN: , DOI:
Le comédien et l’objet technique 2020-04-06
2017 David Trippett
Music and the Transhuman Ear: Ultrasonics, Material Bodies, and the Limits of Sensation
published pages: 199-261, ISSN: 0027-4631, DOI: 10.1093/musqtl/gdy001
The Musical Quarterly 100/2 2020-04-06
2018 David Trippett
An Uncrossable Rubicon: Liszt’s  Sardanapalo Revisited
published pages: 361-432, ISSN: 0269-0403, DOI: 10.1080/02690403.2018.1507120
Journal of the Royal Musical Association 143/2 2020-04-06
2019 David Trippett
Posthumanism and the Generation of Empathy
published pages: , ISSN: , DOI:
Cambridge Companion to Music in Digital Culture 2020-04-06
2019 Edward Gillin and Crosby Smith
The Tools of Trinity: mathematics and the experimental sciences at Trinity College, 1850-1914
published pages: 1-31, ISSN: , DOI:
History of Trinity College Cambridge 2020-04-06
2020 David Trippett
Wagner’s Ring in Operatic and Literary History
published pages: 1-31, ISSN: , DOI:
Cambridge Companion to Wagner\'s _Ring_ Cycle 2020-04-06
2019 Melissa van Drie and Anna Harris
The stethoscope goes digital: Learning through attention, distraction and distortion’
published pages: , ISSN: 0016-9161, DOI:
Swiss Journal of the History of Medicine and Sciences 2020-04-06
2017 David Trippett
Towards a Materialist History of Music: Histories of Sensation
published pages: Online, no pages, ISSN: , DOI:
Franklin Institute of Humanities, Duke University Non-periodic 2020-04-06
2019 Melissa van Drie and Anna Harris
Staging the electronic and digital stethoscope in medical education: a historic and ethnographic juxtaposition of pedagogic performances
published pages: , ISSN: 0040-165X, DOI:
Technology and Culture (under review) 2020-04-06
2019 David Trippett
From Distant Sounds to Aeolian Ears: Erst Kapp\'s Auditory Prosthesis
published pages: , ISSN: , DOI:
19th-Century Opera and the Scientific Imagination 2020-04-06
2019 Melle Kromhaut
\'I Hear a New World.\' Moon Metaphors and Media Music.\'
published pages: , ISSN: , DOI:
Excavating Media 2020-04-06
2017 Edward J Gillin
Science on the Niger: Ventilation and Tropical Disease during the 1841 Niger Expedition
published pages: , ISSN: 0951-631X, DOI: 10.1093/shm/hkx073
Social History of Medicine 2020-04-06
2019 Nicholas Cook, Monique Ingalls, David Trippett
The Cambridge Companion to Music in Digital Culture
published pages: , ISSN: , DOI:
The Cambridge Companion to Music in Digital Culture 2020-04-06
2018 Edward J. Gillin
The Parliament that Science Built: Credibility, Architecture, and Britain’s Palace of Westminster
published pages: , ISSN: 0160-9327, DOI: 10.1016/j.endeavour.2018.07.005
Endeavour 2020-04-06

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